On Veils consists of large-scale photographs taken in the American West in 2020. The works range from minimalist studies to dramatic views made by focusing on the poetic qualities of mist, steam, smoke, light and fog. These atmospheric qualities act as a reductive force that in some works transform the scenery into minimal monochromes, both empty and saturated.
“Untitled 2” for example, depicts a grey field of smoke that blurs the horizon between water, land and sky. A pair of swans on a narrow strip along the bottom of the image are the only evidence of the natural world in this landscape. Much like splatters of paint along the margins of a canvas in a monochrome painting.
There are several diptychs in this body of work, which arrange the images to converse with each other through light and texture. In other cases they meld abstraction with representation, or contrast human and environmental forces.
“Untitled 5” is a three-panel study invoking japanese ink-wash paintings like Hasegawa Tohaku’s Pine Trees that are at once spectral and evocative, as swirling masses of fog inhabit the negative space present in the original folding screens.
I search for the elements and weather to obscure and conceal the features of a given scenery, and to prompt a sense of uncertainty in the viewer, transforming geographic features into subjective representations of emotional and psychological states.
There is a sense of economy or austerity in many of the images in this series, in the sense that they are made of so little: namely, fog/mist and trees. The scenery is nevertheless dense, evoking a sense of tactility and sensuousness. This density fills the landscapes with mystery and ambiguity, while the imagery of the metamorphic fog, washing over everything in tones of white, ultimately emphasizes that all earthly things are illusory.